Wednesdays + Fridays: 11 am - 6 pm
Thursdays: 11 am - 8 pm
Saturdays + Sundays: 12 pm - 5 pm
REITZENSTEIN is ushering in our inaugural year-long residency program within the David Braley and Nancy Gordon Sculpture Atrium. In his art practice, he explores the relationship between technology and the natural world. An ongoing communal drawing of the inverted forest landscape will be a feature of the residency along with sculptures and installations.
Through workshops and interactive tours, participants will examine the collaboration between our non-physical consciousness and the inverted tree as a symbol of curiosity and exploration.
Navigating Progress: Hind vs. Hind
Guest Curated by Simon Frank
April 20 - September 29, 2019
The historical landscapes of William Hind (1833-1889) and the contemporary landscapes of his great, great, great nephew Dave Hind are separated by over one hundred years and span an extensive period in Canadian art history. Hind vs. Hind juxtaposes the paintings of these distant relatives, setting William Hind's work from the AGH collection against a large-scale collaborative aluminum work by Dave Hind and the Aluminum Quilting Society, and an installation arising from his ongoing explorations of the landscape of his hometown of Hamilton. Produced for the exhibition, these new works are Hind`s response to his ancestor's works, many of which, until recently, he had only encountered as small reproductions in exhibition catalogues.
The exhibition reflects on the increasing influence that William Hind's paintings have had on Dave Hind's recent work, as well as the many interesting and unexpected connections between the approaches and techniques that both artists employ in their work. Hind vs. Hind explores this unique familial relationship, to present an intriguing representation of the development and evolution of the landscape tradition in Canada, while offering a unique perspective on the history of the country itself. The exhibition will include a new large-scale work created through a community collaboration.
Kim Adams: Bruegel-Bosch Bus
Repeatedly in his work, Canadian artist Kim Adams has explored the patterns of a mobile society, creating works of art that are eccentric hybrids of the readymade.
Blending humour, satire and seriousness, he builds "worlds" as a means of social critique. Adams' installations exist comfortably in the space that divides life and art. His works have been presented in two very different social worlds: in a densely social environment such as a park or street and in a museum setting like the Art Gallery of Hamilton. Neither setting is privileged.
A magnificent visual masterpiece, Bruegel-Bosch Bus consists of a 1960 Volkswagen that appears to pull a post-industrial universe displaying a cornucopia of fantastic and seductive worlds that play with our senses. This futuristic diorama is a permanent fixture in the AGH Sculpture Atrium overlooking the Irving Zucker Sculpture Garden, past Hamilton City Hall and the Niagara Escarpment.
Reminiscent of a previous installation by Adams titled Earth Wagons that presented a micro-model North American society fixed on leisure and entertainment, the Breugel-Bosch Bus encapsulates the next whole world picture, a world in which reality and unreality, logic and fantasy, banality and sublimation of existence, form an inexplicable unity.
This 'bus' is a Kubrickesque megalopolis made of icons symptomatic in present society and draws upon urban fantasies, phantasmagoric, post-apocalyptic landscapes, and a plethora of different times and cultures. Buildings from different epochs are aligned side by side and space becomes an imaginary territory where chaos prevails.
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